IC-NRLF
SB 2M3 EMfl
X
CHARLES A. MILLER
HOW TO MAKE SHOW
CARDS
A practical treatise on the fundamental
principles of artistic lettering with
pen and brush for the use of
retail merchants and
their clerks.
BY
CHARLES A. /MILLER
WITH AN APPENDIX
Giving numerous practical illustrations of work that
may be done by marking and shading pens and
brushes, with explanations and directions.
BY
W. A. THOMPSON
SECOND EDITION
THE SPATULA PUBLISHING CO.
BOSTON, MASSACHUSETTS, U.S.A.
Copyright, 1911, 1916, by SPATULA PUBLISHING Co.
TABLE OF CONTENTS.
CHAPTER I.
GENIUS NOT REQUIRED. — Multiplicity of books on sub
ject — All different from this — The art may be acquired
by almost anyone — The author's experience — The value
of show card writing — Reasonable practice.
CHAPTER II.
FREE HAND WORK. — Ease with which skill in free hand
work may be acquired — Methods of holding tools — Why
professionals say " It's dead easy" — The use of imagina-
tion— Guide lines soon discarded.
CHAPTER III.
NECESSARY TOOLS. — The better the workman the fewer
tools — What brushes to buy — How to tell a good brush
— The importance of taking good care of tools — Brush
"Dont's" — Show card paint — How to mix paint — How
to use paint.
497233
6 TABLE OF CONTENTS.
CHAPTER IV.
PRACTICE, PRINCIPLES AND PENCILS. — Surprising results
obtained through practice — Constructive principles elu-
cidated by monograms — Importance of drawing board
and T square — The necessity of practicing curves, parallel
and oblique lines — Pencil outlining.
CHAPTER V.
PRACTISE STROKES. — How to outline letters with light
pencil strokes — Table showing various strokes composing
letters — Use of the round writing pens — Perfect circles
not necessary — How to make them — A "secret "of the
art.
CHAPTER VI.
GEOMETRY OF LETTERS.— Relation of capital letters to
each other — All except three drawn in same sized rectan-
gle— Letters grouped into five classes — Correspondence
courses — Use of monograms — I, L, F, E, H, T, V, A and
Z analyzed.
CHAPTER VII.
GEOMETRY OF LETTERS, CONTINUED.— Analysis by mono-
gram of the letters X, Y, N and K — The rounded letters
- Peculiarities of O, C, G, Q, P, B, D, J, U, R, S, M and
W — The characteristics of punctuation points and how to
make them.
CHAPTER VIII.
GEOMETRY OF LETTERS, CONCLUDED. — The peculiarities
of numerals — Easy to make with practice — The ten digits
analyzed — The ampersand the most difficult character —
Just how to make it — How the expert obtains pleasing
results.
CHAPTER IX.
ROUND WRITING PEN PRACTICE.— The best method to
gain proficiency in the use of the round writing pen —
Purposes for which it may be used — Unsurpassed for
making small card signs for interior of show cases, etc.
TABLE OF CONTENTS. 7
CHAPTER X.
SIMPLE FORMS OF LETTERING AND How TO OUTLINE. —
The Alphabet divided into Groups — i, Letters composed
entirely of straight lines and right angles — 2, Letters com-
posed wholly of oblique lines — 3, Letters combining verti-
cal, horizontal and oblique lines — 4, Letters composed of
combined straight and curved lines — 5, Letters composed
of curved lines.
CHAPTER XL
SINGLE STROKE LETTERS. — Mostly used where cards are
frequently changed — The easiest letters to make are these
— The differences between lower and upper case letters —
Value of practice in making single stroke letters.
CHAPTER XII. ^^
LAYOUT AND SPACING.— General principle of the layout—
A concrete example showing how a 7 x u card should be
arranged — Space required by the different letters — The
Mental Conception — Facts, not "tricks of the trade."
CHAPTER XIII.
INKS AND PAINTS. — Ready-to use paints — How to mix
your own paints — Foundations of black and white paints
— Formulas for numbers of useful mixtures — Dry and
Moist Colors — Waterproof ink — Paints for oil cloth —
White ink.
CHAPTER XIV.
PRIMARY AND SECONDARY COLORS — The three primary
colors — How to produce secondary colors — Harmony
of Colors — Two color combinations — Three color com-
binations— How to mix colors — Test of colors and their
analysis.
8 TABLE OF CONTENTS.
CHAPTER XV.
BRONZE, FLITTER, SMALT, ETC. — The use of bronze,;flitter,
smalt and flock — What they are and how they may be
applied — Should be used with judgment — The use of
chalk — Easily removed.
CHAPTER XVI.
HINTS FOR THE SHOW CARD WRITER.— The', importance
of a good scrap book — Uses that may be made of col-
lected letters and pictures — Borders and] edge lines' —
Use of the atomizer — The drawing board, etc.
CHAPTER XVII:
CATCH PHRASES. — A collection of scores of ready made
legends that may be used to advantage on show-cards —
Scintillating sentences that awaken curiosity and stimulate
trade.
APPENDIX.
Full page and smaller illustrations, practical work that
may be done by marking and shadingfpens>nd brushes,
with explanations and directions.
HOW TO MAKE SHOW CARDS.
CHAPTER I.
GENIUS NOT REQUIRED.
Multiplicity of books on subject — All different from this —
The art may be acquired by almost anyone — The author's
experience — The value of show card writing — Reason-
able practice.
;HE temerity attending the taking up of the
subject of Show Card Writing with the idea
of presenting it in a clearer and more prac-
tical way, may call for explanations. Books and
examples of artistic skill, there are galore, denoting
ability in execution greatly exceeding my own. The
majority of them sail away into a realm that is be-
yond the every day practical use of the small mer-
chant. Those which attempt to enter this domain
fail to make clear the fundamental principles and
basic facts which are so essential an aid in the ready
and quick construction of neat and simple lettering
to meet the requirements of a busy merchant.
10 HOW TO MAKE SHOW CARDS.
My own practical experience along the iden-
tical path which the small merchant travels, and my
visits to thousands of retail stores have familiarized
me with many facts that lead me to the gap which
greater ability, or lack of information regarding
requirements, has failed to close.
Many think that only an artist can produce
commendable results in card writing. Any one
who once masters the principles upon which the
letters, figures and punctuations are formed and
becomes acquainted with the " tricks of the trade "
can successfully produce card signs in which he may
well take pride.
Quality depends upon skill in acquiring control
of pen or brush, which is well within the reach of
all by practice and patience, and also upon the " spac-
ing " and " laying out." A card poorly balanced, even
if well lettered, is always farther from satisfaction
than if well balanced but more crudely executed.
The retail merchant needs no argument as to
the value of show card writing as an aid in promoting
business, and is greatly interested in any practical
method of instruction, within reasonable limits of
his requirements.
A series of short instructive lessons, sufficiently
covering the subject, to enable him to produce com-
mendable show cards without an expenditure of time
greater than their value, cannot however prove of
much value to him unless he is willing to devote a
little time, thought and study to the subject.
My experience has been along the same busy
path that all active retailers travel, and I know
HOW TO MAKE SHOW CARDS. 11
exactly all about the perplexities, limitations and
interruptions attending the making of store signs.
I am sure there are only two real reasons for
failure: first, lack of application ^second, submis-
sion to early discouragement over first attempts.
So, if "your wishbone is where your backbone
should be " I would advise that you spend neither
money nor time on the subject.
GENIUS NOT REQUIRED.
But if you harbor the opinion that only an artist
can produce satisfactory results that would meet
your requirements or that card writers are born not
made, then I know you are in error, as my own
experience furnishes too many proofs which sub-
stantiate my words.
While it does not require a gifted nature to
acquire the art of making neat and creditable signs
for ordinary purposes of the retail store, it does
require proper and somewhat methodical training,
which is well within the reach of anyone.
The simple style of plain lettering like the Gothic
letter may be executed almost by mechanical means.
They are most generally used by the busy merchant
who does his own card writing and no other alpha-
bet produces as neat, or more effective cards.
Once the student has acquired a practical knowl-
edge of their geometrical construction (which will
be illustrated further along in our subject) he will
only require practical experience in free hand draw-
ing such as he will readily attain by practice while
becoming familiar with the geometrical features.
12
HOW TO MAKE SHOW CARDS.
2 Q
II
!<
S £
11
HOW TO MAKE SHOW CARDS.
13
CHAPTER II.
FREE HAND WORK.
Ease with which skill in free hand work may be acquired —
Methods of holding tools — Why professionals say " It's
dead easy" — The use of imagination — Guide lines soon
discarded.
'REE hand work is more properly defined if
we should designate it as " acquiring control
of the pen or brush." One is surprised at
the acquisition of this free hand work, if he only
uses occasional odd moments for practice with pen or
pencil, for which later the brush may be substituted.
Nearly every sign writer has his own individual
method of proceeding and those who are about to
take up the subject, have acquired their own way of
handling a pencil or pen, therefore special instruc-
tions or illustrations regarding this point are seldom
given but slight consideration. It will be found
advisable in using the brush, however, to hold it a
trifle more upright than pen or pencil.
14 HOW TO MAKE SHOW CARDS.
Many writers in working with the brush, especi-
ally on large letters, rest the brush hand over the
back of the left hand, which lies partially closed
(palm down) on the table or drawing board.
This gives stability to the stroke and by a slight
rolling movement of the left wrist a longer and
bolder stroke is possible or a lighter stroke more
easily controlled. This is really a substitute for the
mahl-stick which many prefer.
.
"DEAD EASY."
The itinerant window decorator who covers plate
glass with an array of flourish, flowers and fol-de-rol
in red, yellow and blue, you dub an artist. His
execution of letter and ornament excites admiration.
Have you never succeeded in drawing him from
his shell of reticence sufficiently to have him become
confidential and communicative ? If so, he has told
you that it is " dead easy " ; that you have only to
"get wise" to the important "trick of the trade."
Should he happen to be in especially good humor,
he will illustrate in a few minutes with a pencil the
basic principles by which letters are formed, so that
you perceive he is more a delineator of geometry,
than an artist.
His ability to discard guide lines except such
as may be an aid to correct spacing is because of
skill acquired by familiarity with these basic facts.
You can acquire a commendable and satisfactory
dexterity as well as he, by practice, after an intelli-
gent understanding of the rules and a study of their
application.
HOW TO MAKE SHOW CARDS. 15
His brain has absorbed all this and therefore
when he starts on the work before him he pictures
to a certain degree the size, shape and construction
of the necessary letters. This picture of the brain
is like a photograph to the eye, and is so clear in
detail that the hand obeys. Just in the similar way
that you, when you are seated to write, do not give
particular thought to the construction of your let-
ters, for your mind is concentrated on what and how
you will say that which you intend. The expert
sign writer has little use for guide lines except those
of a rough sketchy character intended to secure
proper spacing and balance. These lines they sel-
dom follow.
ream
16
HOW TO MAKE SHOW CARDS.
women; combining'* the
useful with the gift
/eatiire
AN ATTRACTIVE SHOW CARD.
(Courtesy of the Signs of the Times, Cincinnati, Ohio.)
HOW TO MAKE SHOW CARDS.
17
HOW TO HOLD MARKING PEN.
CHAPTER III.
NECESSARY TOOLS.
The better the workman the fewer tools — What brushes to
buy — How to tell a good brush — The importance of tak-
ing good care of tools — Brush " Don'ts" — Show card
paint — How to mix paint — How to use paint.
OOD work requires the best of tools, the
cleverest workman generally requiring the
fewest. Purchase only what are absolutely
needed. Three or four brushes are sufficient for
any work that is ordinarily required for the store
and No. 4, No. 7, No. 12 with a flat brush for *' fill-
ing in " is a convenient outfit.
In purchasing a brush observe if the ferule is
well filled and the hair securely fastened. It should
taper to a fine point and retain the point without
breaking when in use. A good test is to moisten
the brush and while wet and the hair holding to-
gether, twist the point upon the thumb-nail, making
18 HOW TO MAKE SHOW CARDS.
all kinds of imaginary circles and curves, if the point
splits and spreads about it is wise to make a new
selection.
A good brush should have spring and solidity
sufficient not to droop or sag when filled with heavy
paint. If it possesses these qualities you will have
little difficulty in getting sharp clean edges to your
lines.
CARE OF BRUSHES.
The proper care of brushes is of much import-
ance and unless given it they soon become useless.
As really good brushes are expensive, it will pay you
to consider what is said regarding the care of them.
To be always in perfect order they must always
be cleaned every time you are through using them
and do not under any consideration allow color to
dry on your brush, wash it out in water and (if you
are using water color) rinse well in clean water and
with gentle pressure slide the thumb and forefinger
toward the brush point, carefully moulding it to its
proper shape. Clean brushes used in oil with tur-
pentine.
Our itinerant friend (of whom I have spoken)
has the highest regard and bestows the greatest care
imaginable on his brushes. Almost invariably he
has a "pet," for which he cherishes an almost pa.
thetic love.
If you have succeeded as well as I have many
times in " drawing him out," he has given you some
"don'ts " that it will pay you not to forget.
HOW TO MAKE SHOW CARD 19
THE BRUSHES.
BRUSH DON'TS.
Don't allow color to dry on the brush.
Don't fail to clean if suddenly called from your
work.
Don't stand it on end or upright, lay it flat when
not using it.
Don't use your water-color brushes in. oil color.
It will ruin it for water color afterwards.
Don't mix paint with your brush, always use a
thin-bladed knife or a stick for this purpose.
SHOW CARD PAINT.
There are a number of " ready to use " products
which can be obtained from druggists or stationers
which may be preferred. But quite as satisfactory
and convenient for ordinary store work are moist or
20 HOW TO MAKE SHOW CARDS.
dry water colors. These give a wide range of va-
riety, and being inexpensive, one can afford a liberal
assortment. These may be had at artists supply
houses or the paint dealer.
How TO Mix PAINT.
If you select moist water color (in tubes is
preferable), squeeze a small portion on to a clean
piece of glass, add a drop or two of water and a very
few drops of mucilage which is used as a binder and
to give a slight gloss. The mucilage should be pre-
pared from the best grade of gum arabic and clean
clear lumps (not powdered) should be used. Now
mix well, using a thin knife or flat stick. Keep the
paint pretty thick for brush work and use care in
adding the mucilage, as too much prevents an easy
flow of color and produces a ragged edge to your
letter. Sometimes a little glycerine will produce a
paint that flows easily. If dry water color is used,
work it into a soft dough with water, then proceed.
How TO USE PAINT.
It requires something more than merely dipping
the brush before using. Your brush must be com-
pletely charged with paint so that the center is as
well filled with color as the outside hair. After
dipping into the paint select a clear portion of your
glass and with the brush make various strokes,
drawing the brush from side to side, rotating it by
movement of the fingers and drawing it towards
you, first on one side then the other. Do this
frequently. Test by a few light strokes and remove
superfluous paint before making letters.
HOW TO MAKE SHOW CARDS. 21
are
looking Jbr a
do.
THE DRAWING BOARD.
CHAPTER IV.
PRACTICE, PRINCIPLES AND
PENCILS.
Surprising results obtained through practice — Constructive
principles elucidated by monograms — Importance of draw-
ing board and T square — The necessity of- practicing
curves, parallel and oblique lines — Pencil outlining.
PRACTICE.
;HEN show card writing is mentioned and
/w) the necessity of acquiring a degree of
^s skill in free hand work is considered,
many say : " Wish I could do it, but it requires an
artist to do that," forgetting that we all possess
about an average ability as an usual condition, and
that what looks very difficult and unattainable, is
not the result of unusual natural qualities but of
systematic study and analysis of fundamental facts,
combined with practice. It is equally true that any
22 HOW TO MAKE SHOW CARDS.
one who can learn to write can learn how to draw
or paint letters for the show card.
CONSTRUCTIVE PRINCIPLES.
By a series of geometrical monograms the defi-
nite relations which all letters of an alphabet bear to
each other will be shown and in detail the mechanical
method of drawing them.
The student who will follow these monograms
with reasonable study of each letter, using rule,
compass and drawing board at first, will find that
though mechanical assistance is a great convenience
in elementary efforts after he has drawn a complete
alphabet as detailed of each letter, character by
character, he has acquired a readiness of forming
letters with more accuracy than would be possible
to attain by rambling copying or a desultory sketch-
book of curves, parallel and oblique lines.
DRAWING BOARD, ETC.
It is not the intention to convey the impression
that practice in copying and sketching are not very
essential, but for the purpose within the limits which
I am covering, more creditable work may be accom-
plished if the suggestions in connection with the
geometry of letters be understood, for these if
applied to practice in free hand assure greater accu-
racy and a quicker acquisition of the art. Speed
acquired by bold careless strokes at the expense of
accuracy, if once established is usually difficult to
correct.
It will be found to be of great convenience if
a good sized drawing board suitable for the largest
HOW TO MAKE SHOW CARDS. 23
card to be used, is procured, together with half a
dozen thumb tacks and a large wooden T square.
The board has many advantages over a table or
desk, as it can be placed at various angles or removed
to different locations ; uncompleted work on it when
put aside hastily is better protected from damage,
and will be found in the same position for completion
at any time.
Curves, parallel and oblique lines are the few
simple important strokes that should be practised
until they have been mastered. There are odd mo-
ments when these exercises may be practised with
pencil or pen by any one who has a laudable ambition
to succeed.
Learn to draw with a careful but fearless stroke,
for it is better that an effort be made to acquire
speed gradually and easily with a fair degree of
exactness than by attempting to secure it through
a strained effort.
The T square is a very convenient aid in spacing
and for denoting the exact position of the various
letters before they are indicated by sketching
It should be understood that after the principle
of the monograms has been understood, that in
general work it is not necessary to draw the lines of
the rectangle, but simply denote their four corners
by a dot, or better, a short, slight pencil stroke
crossing the horizontal lines. This may be observed
in the sign awaiting the "cleaning up" which is
attached to the drawing board.
PENCIL OUTLINING.
The pencil being the first tool, the student will
24 HOW TO MAKE SHOW CARDS.
use should be a No. 2, or HB, and properly pointed.
Provide a few sheets of white card board having a
soft surface (avoid a glazed card). A heavy manila
paper is very satisfactory.
Let the perpendicular, oblique, right and left
curve stroke be always drawn from the top, down.
Horizontal strokes from left to right. The arrows
will indicate the usual method employed by modern
card writers.
These practical lines or strokes, as shown in
the plate are really the essential movements neces-
sary to acquire control of brush or pen and when
once the ability to execute them, even fairly well, is
acquired, there is little difficulty experienced in the
execution of any letter which one may please to
select ; providing a knowledge of the proper appli-
cation of the strokes, of mechanical constructions
and the basic principle of all letter building is well
understood. (See plate page 26.)
A SHADING PEN EXERCISE.
HOW TO MAKE SHOW CARDS. 25
CHAPTER V.
PRACTISE STROKES.
How to outline letters with light pencil strokes — Table show-
ing various strokes composing letters — Use of the round
writing pens — Perfect circles not necessary — How to
make them — A "secret "of the art.
AVING ruled a light pencil line denoting
height, which should be one and a half
inches, the height of original design from
which this plate was made, which is a convenient
size for practice strokes, the intended strokes may
at first be lightly indicated in pencil (see dotted lines)
though this must be eventually discarded and a fa-
cility of executing them without guide lines acquired.
The Soennecken pen No. 2. (see page 30) may
first be used, as this enables one to control the direc-
tion of stroke better, its use permitting more bold-
ness and establishing confidence.
- Then try the No. 4 brush, making all the strokes
26
HOW TO MAKE SHOW CARDS.
uZ i
W £
Bi
HOW TO MAKE SHOW CARDS. 27
as with the pen and always in the direction of the
arrows. Figures i to 6 (see page 26) need no further
explanation. Figure 7. The stroke left to right, it
will be noted, is the middle part of S, and the right
to left stroke the center of Figure 2. These are
difficult strokes to acquire, but when they can be suc-
cessfully handled, it will be found to be much easier
to execute the strokes required for combined per-
pendicular and curved letters or for letters like O,
G, etc. Figures 8 and 9 are designed more espe-
cially to secure brush control. In attempting them
hold the brush nearly upright and have it well
charged with color.
The strokes indicated should be made in order
of i, 2, 3, the first stopping at A. Without chang-
ing the direction of the brush, but simply raising it
just enough to clear the paper, swing it to B and
make the stroke where the parts connect. Pass the
brush beyond the junction in order to insure clean
lines. These two figures should be made with one
stroke, and when skill has been acquired this will
not be found difficult, and will be found an excellent
test of control.
Figure 10 can hardly be drawn a perfect circle.
When perfection is necessary the compass is always
used. Considerable skill is required to make a fairly
good one, but repeated trials are surprisingly satis-
factory. First attempts with the pencil are best,
and when the use of the brush is taken up it is often
that a slight retouching brings it into symmetrical
line.
A good way to do it is to draw a small circle,
28 HOW TO MAKE SHOW CARDS.
say one inch diameter and then surrounding it
with another, one-fourth inch larger, and so on until
four or five have been made. The circle ought to
be made in two strokes, swinging the brush from
A to B (No. I stroke) and completing with No. 2
stroke. It is good " control f ' practice to try and
make a perfect circle in one stroke. This may not
for some time produce very pleasing results, but it
will give the hand and wrist a movement that lends
ease and confidence to the other easier and more
frequently used strokes. Hand 12 are readily seen
to be important strokes when combined.
It is a secret of the art to learn to skillfully raise
the brush from the stroke and to adroitly replace it ;
this is an important factor in all practice work and
should be given especially careful attention.
ABCDEF0MIJICL
MNOPQR5TUVW
j (c I m n opqrs^uv woryz
AN EASILY MADE ALPHABET.
HOW TO MAKE SHOW CARDS.
29
CHAPTER VI.
GEOMETRY OF LETTERS.
Relation of capital letters to each other — All except three
drawn in same sized rectangle — Letters grouped into five
classes — Correspondence courses — Use of monograms —
I, L, F, E, H, T, V, A and Z analyzed.
ANY fail to observe that capital letters
have important structural relations with
each other, except to note that they are of
the same height. Beside height, however, they bear
definite proportious throughout which must be care-
fully understood in order to attain symmetry and
artistic appearance. Excepting M, I and W, all
letters of an alphabet are drawn within the lines of
practically the same sized rectangle, the sides of
which touch the limits of the letters.
Letters may also be grouped into five divisions
and a study of them by groups (which will be con-
30
HOW TO MAKE SHOW CARDS.
HOW TO MAKE SHOW CARDS. 31
sidered later) is valuable as establishing a clear con-
ception of the exceedingly small number of strokes
used in constructing them.
While very neat and attractive signs are pro-
duced by mechanical means with rule and compass,
do not expect to become an expert card writer by
confining your skill to this method alone.'
CORRESPONDENCE COURSES.
By constructing the letters separately, with care
and accuracy according to the lines of the mono-
grams as detailed in the text, a knowledge of letter
construction and its principles will be obtained that
for all practical purposes compares favorably with
any of the courses by correspondence.
There is no desire to depreciate the merit nor
excellence of the school course, if time and money
has not to be considered, or if there is a desire to
enter a larger field than the every day needs of the
small merchant. Such courses cost from $25 to
$75, extend over a period of time, demand intensive
application, almost constant practice and cover a
field of exercises beyond the needs of practical store
work.
These facts a conservative, busy merchant will
usually consider. First, for purposes of the majority
of retail stores such an expense is prohibitive.
Second, the amount of time required to cover
an extensive field frequently becomes tiresome and
it is given up. Third, from among the mass of much
irrelevant matter he has to "dig out" the funda-
mental and practical. Fourth, if he once understands
HOW TO MAKE SHOW CARDS.
MONOGRAM NO. I.
(Showing how the letters I, L, F, E, H, T, V, A and Z may be
correctly drawn )
HOW TO MAKE SHOW CARDS. 33
accuracy and how to reach it, which is embodied in
these monograms, he has the means and the knowl-
edge of correcting his own efforts as critically as
could be done by an " expert."
USE OF THE MONOGRAMS.
It is not essential that the student should draw
the letters all in a rectangle of the same dimension,
as shown in the monogram ; he will get a clearer
conception of the subject by drawing each letter in
a separate rectangle. If these are made on heavy
manila paper and the strokes numbered they will be
found a convenient reference at some period of doubt.
The monograms are for the purpose of saving space
and to show the close relative relation letters bear
to each other. And for the purpose of imparting
essential knowledge, but not intended to replace
free hand brush writing. They are what addition,
subtraction, multiplication and division are to mathe-
matics.
Two parallel lines denoting height of the letters
are the only guide lines that should be used as soon
as the eye has become trained.
When this point is reached it is not difficult to
write alphabets of other than Gothic letters, and this
principle of the monogram will be found a great aid
in constructing odd or ornamental letters.
To draw the monogram No. I, or to construct
any single letter accurately, let the student obtain
proper card board or paper, a No. 2 pencil, rule and
compass, and having decided on the height of the
letter or monogram, let the limb width be one-sixth
54 HOW TO MAKE SHOW CARDS
-to
on
Wisdom
\ suggests a year's
j subscription to
Signs of the Times.
SUGGESTION FOR A SHOW CARD.
HOW TO MAKE SHOW CARDS. 35
of its height. If we select 3 or 6 inches as our height
the limb width would be % or i inch, respectively.
Taking each letter in the order of simplicity,
begin with
I. It is merely a rectangular character whose
height and width determine that of all the others.
Suppose we select as height, 6 inches, our limb
width (one-sixth) would be I inch. With rule and
pencil construct the rectangle. As a good propor-
tion in width is ^ of the height, we find we need a
rectangle 6 inches by 4% inches. Now construct
the I.
L. Is a left hand upright joined to a horizontal
limb at the bottom running clear across the rectangle.
F. Has the same limb as L, only it is at t|ie
top ; it also has a cross-bar between the top and
bottom. This center cross-bar is never as long as
the top one, being a limb width less in length. While
this cross-bar in block letters is drawn exactly half
way between top and bottom dotted lines 13, 14, 15,
16, modern card writers more frequently place it
one-fourth of a limb width above the exact center.
E is only F with the lower limb of L added.
H is a right and left upright (I) with the cross
limb connection.
It will be noted that the cross-bars of F, E and
H are always the same height.
T is an I with the top bar of F added. The
cross-bar of T in practice is usually made a little
wider than that of the other letters, as T has a ten-
dency to look "squatty " and not wide enough. H
has the tendency to appear too wide and is often
36 HOW TO 'MAKE SHOW CARDS.
made narrower to counteract this peculiarity. The
lower limb of L is also frequently slightly shortened
to counteract an appearance of bad spacing.
There are a few deviations from hard and fast
rules, scarcely noticeable to the uninitiated, which
make up the bulk of what may be termed the " tricks
of the trade." For the present they may be dis-
regarded.
V has two slanting limbs ; notice that the limb
width is measured at A-B and C-D at right angles
to the length and not at 1-2. To form V find 3, which
is the center of the bottom line, and from 3 mark 4,
5, which are equal distant from 3, three-fourths of
limb width. From 4 draw the lines 4-6, and from 5
draw line 5-1. Now measure limb width at A, B
and C, D at right angles to 1-5 and draw 2-8, also
at the left repeat the operation and draw the line
7-8 to meet at 8.
A is an inverted V ; the same rules apply to its
construction"; it also has a cross-bar added, the bar
being drawn so that its center line (see dotted line
9, 10) is one-third the height of letter from the base.
A novice is apt to place the bar of A at the center
or at least too high. When placed too high the
work of an amateur is quite evident.
Z is the top and lower cross-bars of E connected
by a slanting limb from top right to lower left c< >rners.
To place the slanting bar, find the center E by clotted
lines n, 12 and its corresponding cross lines. Set
the compass at half limb width and draw the circle
as noted by dotted line, then draw a line from u
just Touching the outside of circle and passing on
HOW TO MAKE SHOW CARDS. 37
to the lower limb of Z ; from 12 draw a line touch-
ing the circle to the upper bar. The mistake is
sometimes made of drawing the slant from left to
right instead of right to left.
Looking at the monogram it stems a very diffi-
cult and intricate task. But as the student lays down
one line after another, letter by letter, as instructed,
he is surprised at the simplicity of it all and will
find himself possessed of knowledge he could have
acquired in no other way and a confidence that leads
him on to become a master of letter construction.
If these same rules are applied to separate spaces
instead of in monogram, we have words as a result.
MARKING PEN ALPHABET.
38 HOW TO MAKE SHOW CARDS.
8 2
MONOGRAM NO. 2.
(Showing how the letters X, V, N and K may be correctly drawn.)
HOW TO MAKE SHOW CARDS.
A SIGN MADE WITH ROUND WRITING PEN.
CHAPTER VII.
GEOMETRY OF LETTERS,
CONTINUED.
Analysis by monogram of the letters X, Y, N and K — The
rounded letters — Peculiarities of O, C, G, Q, P, B, D, J,
U, R, S, M and W — The characteristics of punctuation
points and how to make them.
IS made by finding the center D, which is
the point where the lines i, 4 and 2, 3f
cross. With the compass draw the circle
shown, whose diameter is of limb width ; this, of
course, requires the points of compass to be half
limb width apart. Place the rule to pass through
the corner of the rectangle at i, move it to just
touch the circle, then draw the line i, 5. See
Monogram No. 2, page 38.)
Complete the other three lines in the same
manner as for K, drawing the lines from the corners
2, 3, 4 to touch the circle and pass to the limits of
the top and bottom lines at 6, 7, 8.
Y is the upper half of X and the lower half of I.
N cuts all sorts of antics with a beginner. Often
he makes the mistake of drawing the slanting limb
40
HOW TO MAKE SHOW CARDS.
a.
lor
MONOGRAM NO. 3.
(Showing how to draw the letters O, C, G, Q, P, B, D, J, U, R and S.)
HOW TO MAKE SHOW CARDS. 41
from top right to bottom left and seldom does he
place its connecting angles at the correct point. If
he will place the proper lines a few times from
memory, and acquires the ability to do so, he need
never fail in future free hand work. To draw N
after placing the two uprights simply place the
proper limb of X for which instruction has been
given.
K make the upright, then draw the line 2, 3 to
stop at G and a line parallel to it a limb width apart
and towards the upper limit of the rectangle. It is
completed by adding the lower right half of X.
Remember the lower limb of K does not join the
upper, at a junction with the upright. The lower
slant is sometimes lengthened slightly or the upper
shortened to prevent an appearance of being top-
heavy.
THE ROUNDK.D LKTTERS.
The rounded letters take the student into a
field of curved lines, and much care should be given
to instructions governing their construction.
. First, lay out the same sized rectangle as pre-
viously and place the dotted lines 5, 6, 7, 8 and 9,
10, u, 12. (See Monogram No. 3, pnge 40)
These lines are drawn at a distance of one-fourth
of letter height added to a fourth of limb width which
in our 6-inch rectangle would be i^ inches added
to y± inch ; or i% inches, the distance each line is
from top, bottom and each side respectively.
From the points 2, 4, draw quarter circles to
the right and from i, 3, draw quarter circles to th
42 HOW TO MAKE SHOW CARDS.
left. The radius of the quarter circles is the same
as the distance of the dotted lines from each side.
Then draw four other quarter circles whose radius
is limb width less, from the same points.
O is the middle of the left and right uprights
of H and the middle parts of the top and bottom
cross-bar of E.
C is the same as O, only the middle of one of
H's uprights is not drawn, the ends being closed a
limb width above and below the center dotted line
A, B, as shown at C and D.
G is like C with the addition of the bottom
corner of the right upright of H added.
Q is O with the end of A's slanting limb added.
The A limb of Q is usually given a slight twist to
the right and generally a bit lengthened.
P is the left upright limb and portions of top
and middle cross-bars. The parts of cross-bars are
placed after the curved lines have been drawn, the
curves being drawn around the center at 2.
B is P with a second curved portion below the
top one. It is more usual in practice (free hand) to
make the top portion of B slightly smaller than the
lower ; this relieves the letter of a " set " and top-
heavy appearance.
D is B without the middle bar but having the
middle of the H upright.
J is the lower curve of O having the left end
closed at E and joined to right upright of H.
U is J without a closed left quarter circle which
is joined to left upright of H.
R is P with the lower slant of A added. This
HOW TO MAKE SHOW CARDS. 43
lower limb looks best straight and it is easier to so
construct it.
In attempting to make it conform to B's lower
curve there is apt to be difficulty in making it look
well, especially in a block letter.
S is the stumbling block of most card writers
and the hardest letter to form. Care should be
given to its peculiar component parts, when once
mastered and understood it is easily constructed.
Its parts consist of the top of O, the lower part
of J and two quarter circles drawn around the cen-
ters i and 4 joined to the middle part of H's cross-
bar. The top curved part of S is usually drawn
a trifle smaller than the lower curve.
M and W are drawn in wider rectangles than
the other letters. W being one-third wider than A
or B and M one-ninth wider than A or B, so we
have to increase our 4^ inch rectangle y^t making
it 6 inches in width for W and 5 inches for M. (See
Monogram No. 4, page 44.)
To make M within the 6-inch rectangle place
the uprights half a limb width inside, measuring
from the outside lines at right and left. It will be
noted that only the upper right and left limbs of
W are wider than those of M.
M is formed by drawing the uprights and finding
I, the middle point of the bottom of the rectangle,
on each side of which mark 2, 3, so that the space
between 2, 3 is limb width. Draw a line from 3
towards 4 but only as far as 5. (5 is half letter
height.) Then draw 2 towards 6 as far only as 7.
Draw a line 8, 9, parallel to 3, 4 limb width distant,
44
HOW TO MAKE SHOW CARDS.
/0
23 3 I 2 /<?
MONOGRAM NO. 4.
(Showing how to draw M and W.)
HOW TO MAKE SHOW CARDS. 45
the measurement being at right angles as for V ;
also a line parallel to 2, 6, from 8 to 10 ; the rule
will pass through the points 2 and 3 respectively.
W is made by finding n, one quarter letter
from right bottom corner, mark off half a limb width
to right (12) and draw 12, 13, to top right hand
corner. Draw left and side line 14, 15 in the same
way. Find 16 the middle point of top of the rec-
tangle, mark 17 half a limb width to right 16. From
17 towards 12 (that is, the rule will pass through
12), draw a line as far as 18 only. At limb width
distance and parallel to it, draw 19, 20.
Then draw the line 21 towards 14 to stop at
22 ; the line 22, 24 is parallel to 14,. 15 and in the
direction of 23
THE PUNCTUATION POINTS.
The period is a square ; limb wide.
The comma is a period with a diagonal half of
a period attached. The. diagonal part is below the
line.
The colon is two periods one above the other,
half limb width apart.
The semicolon is a period and a comma below it.
The apostrophe is a comma, its upper edge is
placed on a line even with the top of the letters.
The same position is occupied by quotation marks
to ihe left of the words which are commas reversed.
The exclamation is a period separated by half
a limb width from part of an upright drawn above it.
The hyphen is the cr< >ss-bar of H.
46
HOW TO MAKE SHOW CARDS.
MONOGRAM NO. 5.
(Shu\vir.g the drawing and Relative Points of the Arabic Nunv rals.)
HOW TO MAKE SHOW CARDS. 47
IfUfeACH
MADE WITH ROUND WRITING PEN.
CHAPTER VIII.
GEOMETRY OF LETTERS.
CONTINUED.
The peculiarities of numerals — Easy to make with practice
— The ten digits analyzed — The ampersand the most dif-
ficult character — Just how to make it — How the expert
obtains pleasing results.
numerals do not have such definite pro-
portions as block letters, but the student
having acquired a knowledge of hard and
fast rules of geometrical construction, can from his
free hand practice and experience appreciate and
execute the slight necessary deviation needed, with-
out difficulty. The same rules apply to drawing
naught and eight as to the letters O and S.
One is represented by i. It usually has a ker-
nel portion at its upper left part, i, 2, 3, 4, 5 give
its outline. (See Monogram No. 5, page 46).
Two is the upper part of 3 and having the lower
bar of L. It's central part is almost wholly a straight
line although this line is usually given a slight grace-
ful curve in thin or elongated figures. The straight
lines and connecting points are plainly shown and
may be easily placed.
48
HOW TO MAKE SHOW CARDS.
HOW TO MAKE SHOW CARDS. 49
Three is the top and bottom of 8 with the cross-
bar of H. This cross-bar is drawn a trifle longer
to the left, before it is closed at the line 9, 10.
Four is a right upright with slanting limb and
cross-bar added. To place the slanting limb find
the centre of its rectangle as shown by dotted lines,
draw the circle (as shown) and proceed as for the
slants of X and Z. The cross limb of 4 is raised
one-fourth letter height less half limb width, above
the bottom line. The short projection to the right
is half the distance from cross-bar to the base line.
So this figure is that much wider than the others.
The top of 5 is the cross-bar of T. The upper
half of the curved part of 5 deviates from the lines
of the other figures, joining the descending left hand
upright half a limb width higher than the curve of
8. To draw the proper curve of 5 mark a point
one-third letter high at center of the rectangle (A).
The radius or distance of compass points should be
the distance from A to the right outside limit. Draw
the outside quarter circle ; the radius of the inner
circle is limb width less than the outer one. The
cross-bar connecting lines are then drawn to the
left connecting with the descending limb.
Six is the lower part of 8 with upper part of 8
cut off and closed at the right upper end, at C, D.
Seven takes up the whole of T's cross-bar ex-
cept some writers prefer to bevel the lower right
end of the cross-bar the slant being drawn slightly
to the left. To find the leaning limb of 7 find the
center of the rectangle in which it is contained,
by means of the dotted lines 4, 8 and 6, 7, draw
50
HOW TO MAKE SHOW CARDS.
MONOGRAM NO. 6.
(Ampersand. Showing a sure, correct method of drawing &.)
HOW TO MAKE SHOW CARD , 51
the wide circle and proceed as shown for X and Z.
Eight is the foundation of 3, 6 and 9 and is
drawn in the same way as for letter S.
Nine is an inverted 6.
Naught is a letter O and its outline is readily
placed.
To be brief it will be observed that 2, 3, 6, 8, 9
and o have more or less the same lines. I, 4, 5 and
7 are odd. It is these odd features, if one does not
know how to place them properly, which is respon-
sible for much of the feeling of disappointment and
dissatisfaction.
THE AMPERSAND.
The ampersand, &, is perhaps the most difficult
of all characters to draw and seldom is its delineation
by mechanical means given. Many writers on the
art of lettering seemingly avoid giving it attention by
saying : " It is nearly a figure 8 and little difficulty
is experienced in adding the lines of alteration."
I have often attempted the placing of the devi-
ating line with many disappointing results. The
" copy system " of show card writing may have its
advantages but correct information detailing exactly
"how to do it" is of. great value as an aid to free
hand efforts. The knowledge how is what directs
the hand to do.
The special plate devoted to this evasive hiero-
glyph is especially interesting and the principles
of its construction easily perceived and readily
remembered.
To draw it construct the rectangle and lay out
the dotted cross lines as for the letter S. Place
52
HOW TO MAKE SHOW CARDS
e
o
o
55*
HOW TO MAKE SHOW CARDS. 53
the compass point at I and draw the two upper half
circles.
For the lower part place the point at 2 and
draw the two bottom half circles. The radius is
the same as in drawing letter S or figure 8. Close
the upper curved part at 3, 4. Draw a line from
lower right hand corner to exactly meet the inner
upper circle at A and a line limb width distant to
exactly meet the outer circle at 6. These lines may
extend half a limb width beyond the base line (6, 7)
though they are well designated within the rectangle.
Draw the line 9, 10 (having the rule pass through
the lower left corner at 8) to just meet the lower
inner circle at 9, and a parallel line n, 12 limb
width distant to meet the larger circle. Close the
ends of the slanting bar.
THE EXPERT.
The mere reading of the explanatory text may
present the subject in a dry, difficult, uninteresting
and possibly with seemingly a labored effort. But
this is quite true of all substantial knowledge.
The expert writer by the use of just the knowl-
edge contained in this detailed explanation and its
rigid examples, is able by the aid of sketchy guide
lines to obtain artistic results. The beginner if he
will carefully and studiously follow al >ng the lines
here laid down will soon find that a surprising amount
of this detail has found such a firm lodging place in
the brain, that he too soon resorts t«> the use of
rough and sketchy aids.
54 HOW TO MAKE SHOW CARDS.
3- ~=t
BOW TO MAKE SHOW CARDS. 55
'DoMoflocak.
MADE WITH ROUND WRITING PEN.
CHAPTER IX.
ROUND WRITING PEN
PRACTICE.
The best method to gain proficiency in the use of the round
writing Pen — Purposes for which it may be used — Un-
surpassed for making small card signs for interior of show
cases, etc.
HE proper shape, formation and relative
proportion having been concisely given, the
best practice for the student will be found
in drawing the alphabet with the Soennecken pens.
These pens produce lines of various widths, as
shown by the illustration of them. They are exten-
sively used for show card writing, ticket and price
cards, for outline and border lines.
The alphabet can be very quickly made with
a No. 2 pen and is excellent practice. The pen
being stiffer than a brush, is the best tool to use
after the pencil.
Dispense with guide lines if possible, except
those denoting height, though in case of doubt first
attempts should be lightly indicated with a pencil
and confidnce gradually acquired.
HOW TO MAKli SHOW CARDS.
GROUP 1.
HOW TO MAKE SHOW CARDS. 57
H
$%$!
MADE WITH ROUND WRITING PFN
CHAPTER X.
SIMPLE FORMS OF LETTERING
AND HOW TO OUTLINE.
The Alphabet divided into Groups — i, Letters composed
entirely of straight lines and right angles — 2, Letters com-
posed wholly of oblique lines — 3, Letters combining verti-
cal, horizontal and oblique lines — 4, Letters composed of
combined straight and curved lines — 5, Letters composed
of curved lines.
GROUP ONE.
These are letters composed entirely of straight
lines at right angles. For the purpose of showing
how simple and comprehensive the system is, the
alphabet is divided into five groups. These group
letters are drawn in outline to show the various
strokes and their direction. These outside lines
may be drawn with the pen or the brush. Which
ever is used the strokes are best made as indicated,
though there is no hard and fast rule to confine one
to this order of stroke should another way better
58 HOW TO MAKE SHOW CARDS.
GROUP 2.
HOW TO MAKE SHOW CARDS. 59
suit his special ability. The first group is composed
entirely of straight lines at right angles, and these
are the easiest to draw. Try to reach the point of
skill so that they may be readily drawn without
guide lines other than those denoting height. First
use pencil, then pen, then brush, and produce them
at various heights of 2, 3 or 4 inches.
These letters are all " laid in " with the pen or
the brush, as may be preferred, their outlines being
drawn as carefully and skilfully as one's ability may
permit.
They are then to be filled in with the flat brush
and any imperfections corrected. These have not
been drawn with the intention of producing abso-
lutely perfect letters, but to show the usual pro-
cedure and result, in first "cutting in" letters
intended to be "filled."
Mechanical methods may be employed to pro-
duce them, but try and dispense with all aids except
brains, hand and brush as fast as possible.
GROUP Two.
These are letters composed wholly of oblique
lines.
Letters may be made wide or narrow, tall or
short, or both combined, and these variations some-
times alter the rules of construction slightly in order
to produce symmetry or to secure legibility.
For letters of normal dimensions it may be
remembered that M and W are about half as wide
again as N or H. In drawing V be careful not to
vary the slant of the uprights ; they should be the
60 HOW TO MAKE SHOW CARDS.
GROUP 4
GROUP 4.
HOW TO MAKE SHOW CARDS. 61
same angle. The top of X should be slightly smaller
than the lower part.
GROUP THREE.
This group comprises letters of combined ver-
tical, horizontal and oblique lines. Be sure and
place the bar of A below the center. K is a hard
letter to make look pretty. Remember its top
descending slant joins the upright well below the
center and the lower slant does not join at a junc-
tion with the upright ; this lower limb is sometimes
lengthened or the top one slightly shortened to
obtain improved appearance. M is one-third wider
than N and its middle limbs come down to base line.
N should be drawn by drawing uprights first and
adding the oblique line. Y is a carefully drawn
small v with a supporting upright.
. GROUP FOUR.
These are composed of combined straight and
curved lines.
In making B and R the upper curves should
be slightly smaller than the lower portions ; the
lower limbs of R may be given a slight outward
curve which is a bit more difficult to make look
well, or it may be a straight slant. The remaining
letters are easy of conception.
GROUP FIVE.
These are composed chiefly of curved lines.
These are the five hardest letters to construct, and
consist of curved lines. In drawing these the stu-
dent should note the arrows giving the direction of
62 HOW TO MAKE SHOW CARDS.
GROUP 5.
HOW TO MAKE SHOW CARDS.
63
the stroke. With the brush this is an essential aid
in securing speed and accuracy.
O is usually a perfect ellipse and is the founda-
tion upon which the other curved letters are built.
Remember what has been said about holding the
brush more upright than the pen.
This is especially necessary in curved letters to
obtain a clean-edged symmetrical letter. S, which
is a most bothersome stumbling-block, requires as-
siduous practice at free hand in order to secure a
graceful curve ; its upper curve and circle should be
always smaller than the lower portion. The pupil
may use penciled guide lines for this letter until he
acquires confidence and skill sufficient to make such
aids unnecessary. G may be drawn with a part of
cross-bar on its lower curve drawn toward its center.
The Q bar has a peculiar twist or curve to the right
and should begin at a point well toward the left of
the center.
Mot mHater
Settles
i
cfoe \\inb tbat 5o not leafc !|
or gtrc out in a tvceh
a— —*«..*— Ji ' '
A SPATULA PICTURE PLACARD.
64
HOW TO MAKE SHOW CARDS.
CD O
HOW TO MAKE SHOW CAKDS. 65
33 &
MADE WITH MARKING PEN.
CHAPTER XL
SINGLE STROKEJLETTERS.
Mostly used where cards are frequently changed — The
easiest letters to make are these —The differences between
lower and upper case letters — Value of practice in making
single stroke letters.
INGLE stroke letters are mostly used
where cards are frequently changed and by
busy merchants who find rapidity essential.
There are no letters easier to write with either the
pen or brush than the single stroke Gothic (see
plates). They may be quickly and ;neatly drawn
with the brush, using a No. 5 for letters ofjoae of
two inches high and a No. 8 brush for two inch
letters or over.
Keep the paint quite thick, but see that it flows
easily. Persistent practice of the alphabet, followed
by careful criticism of the work, will enable one to
analyze and successfully execute any alphabet that
may please the fancy.
In using a brush it is quite necessary to acquire
66
HOW TO MAKE SHOW CARDS.
I i I
rrn
HOW TO MAKE SHOW CARDS. 67
skill in working slow, steady sweeps, if clean, well
written work is desired.
Beginners are apt to make short, jerky move-
ments, which result in jagged edges.
The sweeping stroke gives an even edge to the
outlines of a letter and is the secret of using the
brush.
Do not allow your brush to be on the outer
edge of a letter unless it is moving at a slow, even
rate.
Of course the brush has to be removed and re-
placed ; but before removing it draw it away from
the edge. If making single stroke letters, great
dexterity is required to replace and remove it so as
to retain a line of even width throughout.
No letter, however, will be more easily read
nor have a neater appearance than those of the
alphabet given, especially when used with the small
or " lower case " letters.
LOWER CASE LETTERS.
•
It has been shown that all letters are formed
of straight and curved lines, and they have a definite
relation to each other.
This is not quite so true of the small letters, or
"lower case."
The knowledge gained by study and practice
of the capitals will be a ready aid to the construc-
tion of the smaller letters.
They are divided into classes : short, ascending
and descending. The short letters are a, c, e, m,
etc., the ascending b, d, f, and all letters whose
68 HOW TO MAKE SHOW CARDS.
HOW TO MAKE SHOW CARDS. 69
height is equal to that of the capital letters ; the
descending are those extending below the line.
While they cannot be successfully shown in
geometrical monogram, they have many features in
common that will be readily recognized by analysis
of the respective divisions.
They are a bit more difficult to execute, per-
haps, but have a tendency to conceal slight inaccu-
racies, an advantage which "caps" do not possess.
There is also a certain license in construction
permissible, providing it does not disturb the sym-
metry of the line. The ascending letters should be
the same height as the capital letters, except the
letter t, which is only slightly shorter than the
other ascending letters. The short letters are but
one-half or one-third as tall as capital letters.
The "lowercase" letters are made by a few
easily combined strokes with much rapidity.
It may be noted that the letters b, d, p, q, g
have almost identical construction, being composed
of the same curved and perpendicular lines.
By closely studying the manner in which the
perpendicular joins the circle o shown by the dotted
lines of b in the plate, and which applies to all these
letters, a degree of skill tending toward symmetry
can be acquired which could never be attained so
easily and quickly without this knowledge.
Remember that the lower limb of k does not
join the perpendicular. The upper slanting limb
and the direction of the lower slant are from the
lower right corner of the letter to the upper left
corner of the perpendicular.
70 HOW TO MAKE SHOW CARDS.
If the similarity pertaining to r, m and n is
noted, as shown in the plate, the doubt always
attending the writing of these letters is at once
eliminated and confidence established.
Practice these lower case letters with pencil,
pen and brush and be careful not to apply too much
pressure in the use of the pen, for even in using a
pencil, pressure often results in a wavy line and
ragged edges. Practice of these thin single stroke
letters will advance the student more rapidly than
any other method.
The principal object of this book — is to outline
a method of constructing accurately simple letters
and to describe the basic principles on which all
successful letter building depends. The author has
tried to show how one may successfully acquire the
art of practical show card writing for the ordinary
purpose of the smaller merchant. Each illustration
has been carefully worked out and proven to be
correct.
The practice strokes are essential and their
mastery will enable any one to make creditable
show cards, if he has diligently endeavored to ac-
quire this knowledge of the basic principles which
applies to all letters. He will, moreover, after a few
attempts, be able to analyze and execute the letters
of any alphabet, for he has reached a point that
enables him to judge and select that which is most
correct, best suited to his ability and most pleasing
to his taste.
No claim is made of having exhausted the
subject.
HOW TO MAKE SHOW CARDS. 71
WE
WANT YOUR
BUSINESS
CHAPTER XII.
LAYOUT AND SPACING.
General principle of the layout — A concrete example show-
ing how a 7 x ii card should be arranged — Space required
by the different letters — The Mental Conception — Facts*
not " tricks of the trade."
beginner usually will confine himself
to guide lines in his first attempts until his
eye has been trained. The use of' light
pencil lines, either to detail exact outline or to in-
dicate the letter approximately, is advisable. One
by one he drops these suggesting helps, except those
of a very sketchy nature.
We will suppose that we wish to lay out the
sentence, " We want your business." First we have
to consider how it balances best, providing we decide
to make more than a single line. Our card being
7x11 inches, we decide it better to use three lines,
and divide the space by light pencil lines to ac-
commodate letters one and one-half inches high.
Finding the centre of the card in width, for the
72 HOW TO MAKE SHOW CARDS.
HOW TO MAKE SHOW CARDS. 73
word " we " we note that W is one-third wider than
E. Consequently we must allow for this in placing
it on our card, which we do by placing the W a trifle
farther to the right of the centre than we should do
if the word were "BE," or letters requiring equal
spaces. W and M always have? to be considered
when the matter of spacing is to be decided. Hay-
ing thus lightly indicated the " WE," there is next
the line "WANT YOUR."
Here is another W and a space between WANT
and YOUR to be considered. A good rule is to
count the letters, also counting the space between
words as a letter. Doing so we find we have nine.
Were the letters of the same width we should
simply indicate our ''space" between "WANT"
and "YOUR" in the exact centre, but the W
forces us to place the " space " a trifle to the right.
This is difficult to give a rule for, for it should be
borne in mind that the distance of letters from each
other should be equal, this distance being the space
between any two nearest points.
Having this in mind, we decide by indicating,
first, the Y of YOUR, and then the space to left
of Y and then place the T in WANT. From here
we work in both directions (right and left) indicat-
ing roughly the respective letters. If the spacing
is not exact we can easily correct it.
The next word '« BUSINESS " contains letters
occupying an equal space each, except the I, and
in this case an allowance has to be made by placing
the first four letters a trifle to the left. By count-
ing we find eight letters and the center of the word
74 HOW TO MAKE SHOW CARDS.
between I and N. So we move the N a little to
the left, enough to balance the space which is not
required for the narrower letter I. This is not diffi-
cult to estimate without measurement other than
to find the card's center.
If one cannot " paint in " in free hand the
letters as roughly sketched, he may carefully out-
line them using a rule if wishing to do so. This
outlining may be done with a pencil, or if done
with a round writing pen and then filled in with a
brush, no retouching is required.
All this, which has taken space to tell, is easily
remembered and wh<:n once understood is readily
applied to off hand lettering, ornament and design.
These are to be considered rules to be followed only
in so far as they relate to the mental conception.
In fact it is these seemingly trivial facts which
constitute the so-called "tricks of the trade," and
which, when they have once been explained con-
cisely, are easy to apply in practice. It is also these
essential "tricks" which are seared into the brain
of our itinerant artist which causes you to credit
him with abnormal ability.
In spacing, when such letters as W, V, A, P,
X, Y are used, especially in words where they
appear side by side, they should be placed slightly
nearer each other, owing to their peculiarity of con-
struction. V A have the appearance of poor spac-
ing if given the same space as N. H. The letters
L T, when placed side by side, appear to be poorly
spaced. Many card writers shorten the length of
the lower limb of L to obviate this.
HOW TO MAKE SHOW CARDS. 75
CHAPTER XIII
INKS AND PAINTS.
Ready-to use paints — How to mix your own paints — Foun-
dations of black and white paints — Formulas for numbers
of useful mixtures — Dry and Moist Colors — Waterproof
ink — Paints for oil cloth — White ink.
"ready to use" preparations of the
market can be purchased if desired, but
quite as satisfactory results can be made
from one of the various formulas which are given
here.
Most of the best and busiest card-writers pre-
pare their own colors, using some of these or simi-
lar formulas.
Many find it a convenient way to get half a
dozen small saucers and mix dry water color to a
stiff paste with water; reduce this with mucilage
arabic. To keep it moist add a little glycerine.
Mix each saucer about half full of color. The
76 HOW TO MAKE SHOW CARDS.
saucers may be set away for use when wanted. If
the colors dry out in the saucer, all that is required
is to flood with water for a moment, pour off and it
will be found moist enough for use.
If your dry lamp black, vandyke brown or ver-
milion does not readily mix with water, add a little
grain alcohol.
Water glass is in very general use as a base for
inks for ticket writing. This is soluble in water,
and the aniline dyes are much used for inks for
color. For white ink, Chinese white zinc oxide,
etc., may be incorporated to a right consistency.
The use of more mucilage, water glass or shellac
gives a higher gloss to the letters. But too much
is apt to crack and peel off.
The following formulas will be found reliable
and to give equally good results if properly prepared.
Gum arabic is one of the best vehicles for all
indoor work. The mucilage should be made from
clearest pieces of gum. Select if you can the most
transparent. Dissolve one ounce of gum in four
ounces of cold water. Do not use the po \\dered, as
you will not get a bright, clear mixture. Dextrin
and. glue are sometimes used, but are not as satis-
factory.
Another equally good vehicle, and one that is
waterproof and dries quickly, is "boro-lac." This
is made as follows :
BORO-LAC.
Borax Y* oz.
Water 5 ozs.
dissolve and add
Shellac X oz.
HOW TO MAKE SHOW CARDS. 77
Dissolve by the aid of heat. Stir well while
dissolving. With this any dry pigment or moist
color in tubes may be mixed.
An excellent black may be had by adding to
the above
Nigrossin i dr.
Tannin 20 grs.
Picric acid 8 grs.
Ammonia water 2 drs.
Moist water colors in tubes are most convenient
for use, and may be purchased in a great variety of
colors. The principal ones needed and most used
are ivory black, lamp black, Chinese white, ver-
milion, chrome yellow and Prussian blue.
To USE DRY OR MOIST COLORS.
Place a portion sufficient for your immediate
work upon a clean piece of glass, or a small shallow
cup designed for the purpose, and, if using the dry
color, first moisten with water to form a mass the
consistency of soft dough. Then add a few drops
of mucilage or boro-lac and mix well with a flat
knife or stick. A few drops of glycerine added will
sometimes make a free flowing product.
A black having a good gloss may be made as
follows :
WATERPROOF BLACK INK.
Boiling water '. 8 ozs.
Borax, powdered # oz.
Shellac i oz.
Place over heat and stir until borax and shellac
are all dissolved. Then stir in just enough ivory
black to color it a deep black, but not making it too
78 HOW TO MAKE SHOW CARDS.
thick. More shellac makes it more glossy. More
borax will make it less liable to chip. If a little
indigo is added the black will have more of a bluish
tinge than of the brown.
JAPAN BLACK FOR OIL CLOTH.
Ivory black ground in Japan is much used by
sign painters. It gives a fine solid black and is
especially adapted for use on oil cloth signs.
RED FOR OIL CLOTH.
EngLsh vermilion dry, if mixed in white dam-
mar varnish, makes a splendid red for oil cloth and
dries with a bright gloss.
ANOTHER WATERPROOF INK (GLOSSY)
Asphaltum i % ozs.
Venice turpentine % oz.
Lamp black or ivory black % oz.
Turpentine 4 ozs.
Mix. The turpentine is apt to spread when used
on card board having a soft or absorbent surface.
WHITE INK.
There is nothing more satisfactory than Chinese
white which has been mixed with the mucilage or
Boro-lac, as mentioned previously. Oxide of zinc,
very fine, or barium sulphate, rubbed well on a slab
or glass with a little mucilage of tragacanth, to
which some gum ar.abic has been added, is also
found very useful.
For small work, bleached shellac dissolved in
alcohol and colored with any of the aniline dyes
will make a waterproof ink. It must be kept tightly
corked, as it rapidly evaporates.
HOW TO MAKE SHOW CARDS. 79
LOOK THROUGH.
CHAPTER XIV.
PRIMARY AND SECONDARY
COLORS.
The three primary colors — How to produce secondary col-
ors — Harmony of Colors — Two color combinations —
Three color Combinations — How to mix colors — Test of
colors and their analysis.
blue and yellow are the three primary
colors. If we mix any two of them we pro-
duce a secondary color. Thus, blue and
red form violet, blue and yellow give green, red and
yellow makes orange.
Now each of these secondary colors will har-
monize perfectly with the color that does not enter
into its composition.
Violet, for instance, — made from a mixture of
red and blue, — harmonizes with yellow, the primary
color which does not enter into its composition.
Green having no red, agrees well with red ; orange
forms a perfect contrast with blue. Either of these
contrasts has the effect of brightening the colors
80
HOW TO MAKE SHOW CARDS.
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HOW TO MAKE SHOW CARDS. 81
employed ; a red and green appear more beautiful
when placed side by side than when used singly.
The mixing of colors is a very different matter
from using them side by side, for while one combi-
nation of the primary colors gives white, another
proportion of them will give black. Therefore, be-
cause red and green may appear beautiful side by
side, it does not follow that a red letter on a green
surface would look well at all. The reason is the
colors are somewhat transparent and the green of
the card or paper shows through and dims the bril-
liancy of the red. The same would apply to orange
or yellow on blue.
The best contrasts are formed by the comple-
mentary colors, though the primary colors, blue,
red and yellow, agree well together. Colors not in
harmony, when placed near each other, have an
effect which is damaging to their brightness and
unsatisfactory to the eye.
Black, gray and gold look well with any color
or their combinations.
The following combinations will be found to
look well on a white ground.
Two COLOR COMBINATIONS.
Crimson and bright yellow, bright green and
warm brown, bright green and vermilion, blue green
and orange, ultramarine and carmine, ultramarine
and maroon, bright yellow and light blue, bright
green and purple.
THREE COLOR COMBINATIONS.
Carmine, purple and ultramarine ; purple, blue
82 HOW TO MAKE SHOW CARDS.
green and orange ; carmine, ultramarine, brown ;
carmine, bright green, purple. Two or three shades
of the same color give a neat effect.
How TO Mix COLORS.
From the three primaries together with white
and black any of the following tints or colors may
be made.
But in mixing them always commence with the
lighter color and add the darker one. Much care
should be given to having the glass and knife, or
stick, with which the paints are mixed perfectly
free of color, for the least bit of black will certainly
spoil a light color.
Violet — white, blue, red. Bright red — car-
mine, pale vermilion. Bronze green — green, black,
yellow. Brown — red, black. Chestnut — red,
black, yellow. Chocolate — brown, red, black.
Copper — red, yellow, a very little black. Cream
— white, light yellow. Deep blue — black, blue.
Deep green — blue, yellow, black. Gray — white,
black. Green — yellow, blue. Gold — white, yel-
low, red. Lilac — violet and a bit of white. Olive
— gray, blue, yellow. Pink — red, white. Purple
— blue, red. Scarlet — vermilion, carmine. Sal-
mon — red, yellow. Straw — white, yellow.
HOW TO MAKE SHOW CARDS
83.
LOOK AT IT
CHAPTER XV.
BRONZE, FLITTER, SMALT, ETC.
The use of bronze, flitter, smalt and flock — What they are
and how they may be applied — Should be used with
judgment — The use of chalk — Easily removed.
RONZE can be purchased in many colors
— rich gold, pale gold, silver, fire, etc.
These varieties are put up in one ounce
packages and may be used with good effect in
ornamental lettering. This may be mixed with
mucilage to a thick paste and thinned with water
to supply consistency, or a liquid mixture may be
purchased, designed for the purpose.
Another method is to use a thin varnish, or
shellac, diluted in alcohol, and paint with it. As
84 HOW TO MAKE SHOW CARDS.
soon as it becomes tacky the bronze powder may
be applied dry with a dry brush.
Keep bronze powders in bottles to keep them
free of moisture.
FLITTER.
Flitter is a flaky tinsel substance and can be
bought at paint supply stores in ounces. The colors
are gold, silver, purple, fire gilt, etc. It is much
used for holiday card signs. It may be applied by
using any of the adhesive substances like mucilage
or glue. Preferably use a thinly diluted glue the
same as you would use paint. After painting the
lines. you wish to have covered with flitter, lay your
card on a large sheet of paper and cover the lines
well with the flitter, tipping the card first to one
side and then the other, so that every part of the
wet lines are covered, then shake all off into the
paper and let the card dry.
SMALT.
This is sand colored and is in much use by sign
painters on wood ground and also on oil cloth.
Blue, black and maroon are most popular. The
ground work is usually painted with an appropriate
color, mixed in Japan, and the smalt immediately
sprinkled on while the sign is lying flat. It is at
once set upright over a newspaper, when the sur-
plus comes off. It will dry in five or six hours.
FLOCK.
Flock is felt ground and dyed in a variety of
colors and can be applied in the same manner as
smalt. As it is readily blown about it is quite an
HOW TO MAKE SHOW CARDS.
85
undesirable article to handle. However, interior
signs lettered in gold flock have few equals in rich-
ness.
CHALK.
Chalk crayon, cut to a sharp edge, is used to
indicate the outline of letters on cardboard of a
dark surface. All traces of guide lines can be easily
removed by slight brushing with soft dry cloth with-
out injury to the card's surface.
Z345
G78GO
SINGLE STROKE NUMERALS.
86 HOW TO MAKE SHOW CARDS.
Oakland!
I)PUO
'k/a/id/fye.
$ Summit St.
SPEAKS FOR ITSELF
HOW TO MAKE SHOW CARD 87
KEEP POSTFD.
CHAPTER XVI.
HINTS FOR THE SHOW CARD
WRITER.
The importance of a good scrap book — Uses that may be
made of collected letters and pictures — Borders and edge
lines — Use of the atomizer — The drawing board, etc.
'HERE is nothing more valuable than a
scrap book in which to keep for reference
anything of interest, or that may be con-
venient or useful for future reference. Magazines,
newspapers and various advertising media furnish
abundant attractions in various styles of letters
which may be clipped and pasted into such a book.
Have at least two pages devoted to each letter of
the alphabet. In a year one is surprised at the fine
88 HOW TO MAKE SHOW CARDS.
collection of odd and ornamental styles which may
be readily copied or can be transferred if desired by
tracing paper.
Initial letters, monograms, etc., if preserved
for a few years, can often be made use of and a
valuable collection obtained. Pictures cut out true
in outline and when wanted for use may be pasted
on to the card and suitable wording added. The
pictures must be carefully cut along their outlines
and neatly pasted in place. Give the back a liberal
coat of paste and after placing it where you intend,
cover with clean sheet of white blotting paper, press
firmly to the card by rubbing with a clean cloth on
the blotter. The blotter and cloth will take up and
absorb any superfluous mucilage or paste. When
the picture has become perfectly dry take a brush
and color, and paint in a background to the picture,
shading it somewhat after the effect seen in photo-
graphic backgrounds. Use very little color but have
it overlap very slightly the edge or outline of the
picture. This method produces an appearance of
the whole affair being painted on the card.
Another useful addition to the scrap-book are
specimens of scrolls, corner pieces and ornamental
dashes. Scrolls may be duplicated by the use of
transfer carbon paper, or one may trace them with
a soft pencil and then, reversing the paper, lay
the side containing the soft pencil marks next to the
card. By hard rubbing on the upper side of the
paper the marks will be sufficiently transferred so
as to be plainly outlined and finished with pen or
brush.
HOW TO MAKE SHOW CARDS. 89
BORDER AND EDGE LINES.
These lines and also the under-line of a word
or words as well as the lines occurring in dashes
and ornamental portions are most neatly made with
a ruling pen such are used by architects and in
mechanical drawing. There are many styles in use.
Usually the thickness of the line is regulated by
a thumbscrew at the side. Some are made to fit a
compass for drawing circles. For ticket writing
nothing is more convenient for border lines and
other purposes.
These pens are not dipped into the ink, but the
space between the points is filled about one-fourth
full by means of your paint brush. They must not
be overloaded for then they will overflow and ruin
your work. If they become clogged rinse in water
and wipe with damp sponge. Wipe perfectly dry
when through with its use.
SHOW CARD PHRASES.
Your scrap-book will be more valuable if you
find in it a place for card phrases. These attract
attention and a catchy and sensible phrase often
has a selling force that neither price nor quality can
equal.
USE OF THE ATOMIZER.
Atomizers may be quite successfully used for
spraying designs where two tints may be an attrac-
tive change. A portion of the work is first care-
fully covered with some neatly designed form or
cut out, either circle, oval, scroll or panel and a
thin mixture containing very little color is sprayed
90 HOW TO MAKE SHOW CARDS.
from an atomizer over the uncovered portion. The
atomizer which is similar to a perfume atomizer
may be purchased from artists' supply houses. They
should be held at a dibtance of six inches or a foot
from the card. Professionals use air brush for this
kind of work, but they are expensive affairs though
they have a larger latitude. A little practice is re-
quired but very effective work in light and dark
tints may' be produced with a little care and skill.
THE DRAWING BOARD.
The use of the drawing board is much more
convenient than a desk or table for ordinary work.
You can have your cardboard cut to desired sizes at
the place it' is purchased. The usual size is 22 x 28
inches, so it is well to order it cut to half sheets,
quarters or eights as may be selected.
A convenient size for a drawing board is about
20 x 27 inches, which is large enough for the usual
work one has to do. Procure at the same time a
wooden T square 24 inches long and a half a dozen
thumb tacks.
When your cardboard has been fastened by
means of the tacks perfectly " square" with the
edges of the drawing board, the T " square " will
be found absolutely essential in securing true per-
pendicular and horizontal lines. Make your pencil
lines with a soft H B. Koh-I-Nor pencil and also
use it for any preliminary sketching. Make the
lines as light as possible then they are easily erased
when the final "cleaning up" with cert gum is
reached.
HOW TO MAKE SHOW CARDS.
1)1
STUDY THIS CHAPTER CAREFULLY.
CHAPTER XVII.
CATCH PHRASES.
A collection of scores of ready made legends that may be
used to advantage on show cards — Scintillating sentences
that awaken curiosity and stimulate trade.
A trade tonic.
At rock-bottom prices.
A style for every fancy.
A thought for the future.
A friendly tip.
As cool as they look.
A vesting investment.
A satisfactory article.
A profitable proposition.
A saving worth having.
An idea of our own.
An unquestioned value.
Another slip in slippers.
Another chance to save.
An investment that pays.
A chance for you.
A dream in leather.
A big dollars' worth.
A chance for saving.
An appeal to your taste.
92
HOW TO MAKE SHOW CARDS.
All good ones.
A dollar stretcher.
All articles of merit.
All new and all right.
All kinds and all good.
A dainty Christmas gift.
A forecast for Christmas.
Always at your call.
A marvel in quality.
All we say, we mean.
All yours at your price.
Brimful of style.
Books for holidays.
Buy now — don't wait.
Bottom prices on top.
By every test the best.
Buy to-day and be sure.
Buy and own a good one.
Bargain bulletin.
Better buy early.
Better and better.
Best in the market.
Beautiful and different.
Bargains — not remnants.
Cash is economy.
Christmas charms.
Certainly "look good."
Can you resist these ?
Christmas suggestions.
Cannot get out of order.
Come while they last.
Come early and often.
Costs less than it should.
Coolness contributers.
Costumes for summer.
Correct in every detail.
Cool things for hot days.
Come in and look around.
Don't wait too long.
Double duty of dollars.
Exclusive for this week.
Every cent counts.
Every one satisfies.
Every buyer pleased.
Every one a good one.
Everything that's new.
Every article you need.
Every day a bargain day.
Easy to possess.
Full of merit.
Frost-nipped prices.
For prosperous people.
For that chilly feeling.
Fragrant as the flowers.
Fits and misfits.
Food for thought!
Fall opening to-day.
For use and beauty.
For the summer girl.
Facts! Facts! Facts!
Fine goods a specialty.
Footwear built on honor.
Finest and most durable.
Fine tailoring a specialty.
HOW TO MAKE SHOW CARDS. 93
A top-notcher for the money.
A wise person buys the best.
A warm thing for a frosty day.
Attractive styles at attractive prices.
A saving on every purchase.
Art in cutting — skill in making.
A price that makes you happy.
A square deal for a round dollar.
Are you interested in low prices ?
A purchase made now will save worry Xmas eve.
A new line at a new price.
Another week of surprises.
Another chance for saving.
An inspection is all we ask.
An old favorite at a new price.
A new way to fill an old want.
Antique finish, but modern prices.
A pleasure and a comfort to the wearer.
A poor article is no bargain at any price.
Appropriate goods at appropriate prices.
Any time is a good time — now is the accepted time.
A chance to get the best.
An argument for early buying.
A dollar saved is a dollar earned.
A high grade at a low price.
All money looks alike to us.
A good thing at a right price.
All our time is at your service.
All kinds of repairing neatly done.
A little money goes a great way.
All merchants trust some — we trust you.
A little higher in price, but cheaper in the end.
94 HOW TO MAKE SHOW CARDS.
After these are gone — no more.
A mere promise gets these.
All wool, luxurious, snug, pretty and comfortable.
Big thing for little money.
Breezy things for hot days.
Bright things for dull days.
Big bargains in bristle goods.
Broken sets at broken prices.
Buy now if you want the best.
Buy what you want — pay when you can.
Beautiful and economical.
Better, but cost no more.
Be a friend to your purse.
Best goods are easiest sold.
Big values for little pocket-books.
Bargains that cannot be repeated.
Best investment you ever made.
Baby's wants have our special care.
Because they fit well, they wear well.
Come in — you're welcome.
Credit for those who ask it.
Costs you nothing to come in.
Credit business at cash prices.
Choose wisely by choosing here.
Cheapness isn't always economy.
Cash prices on cash-bought goods.
Cash is the axle grease of business.
Cannut be duplicated anywhere else.
Crumbs of comfort for the economical.
Cash or easy payments — to suit your convenience.
Correct shapes and colors.
Come again and gain again.
HOW TO MAKE SHOW CARDS 95
Correct styles at correct prices.
Costs but little, but worth much.
Come back to-morrow for what you have forgotten
to-day.
Don't hesitate — now is the time.
Don't wait until the best is gone.
Don't decide until you are ready.
Don't wait — this is your best chance.
Don't forget the little folks at home.
Don't think too long — these bargains won't last.
Don't take our word for it — but come and see for
yourself.
Don't bother about the bundle — we'll send it home
for you.
Distinctive — uncommon.
Dollars do double duty.
Dainty, delicate, delicious.
Daily hints for daily needs.
Dainty things for dainty people.
Don't economize at your own expense. .
Every one should have one.
Every one worth the price.
Every expenditure a saving.
Every day here is "bargain day."
Early comers get the best.
Economy is its own reward.
Early things for early spring.
Especially for hard-to-suit folks.
Encourage that well dressed feeling.
Entire satisfaction to each and every customer.
Full value for every dollar.
Furnishings for the family.
96 HOW TO MAKE SHOW CARDS.
Full of snap, style and wear.
Few as good — none better.
For fit and wear and style.
Fair prices build our trade.
Fall effects at fallen prices.
Finest grade for finest trade.
Fit well, feel well, look well.
For the summer girl's brother.
Fat facts for slim pocket-books.
Fall and winter styles now ready.
Fit and wearing qualities combined.
Favorite wear for fashionable folk.
For modest tastes and modest purposes.
For those who enjoy the best of everything.
He buys best who buys first.
We win trade by deserving it.
If you want more "Catch Phrases" send the
publishers 50 cents and they will send you a book
containing over three thousand and four hundred
more of them.
HOW TO MAKE SHOW CARDS. 97
APPENDIX
ILLUSTRATIONS
OF
PRACITICAL WORK THAT MAY BE DONE BY
MARKING AND SHADING PENS AND
BRUSHES WITH DIRECTIONS
AND EXPLANATIONS
BY
W. A.THOMPSON
PONTIAC, MICH.
NOTE : — Anyone wishing additional infoimaticn may tbtcin it by
writing Mr. Thompson at the above address.
98
HOW TO MAKE SHOW CARDS.
HOW TO MAKE SHOW CARDS. 99
MARKING PEN LETTERING.
In the accompanying illustrations (Figs. I and
2) we present a very desirable alphabet for neat and
rapid work. The size of letters may be varied ac-
cording to the size of pen used. ,Any size of pen
from 1-32 to a half inch wide can be used to good
advantage.
In lettering always use a downward pressure
and only sufficient to make the ink flow. The small
figures and arrows show the order in which each
stroke is made and combined for a finished letter.
In practice always aim to have the capital and small
letters correspond in slant.
The small arrows in the illustrations show the
direction of each stroke in the make up of different
letters. When movement exercises are practiced
the utmost pains should be taken to repeat them
with precision, and each effort should be carefully
looked over and studied to find the faults by com-
parison with the copy.
For practice work use a No. I or Marking Pen,
and make the letters larger than above copy.
100 HOW TO MAKE SHOW CARDS.
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HOW TO MAKE SHOW CARDS. 101
way
_pf handling
Prescriptions
_/s trustworthy.
FIGURE 3. MADE WITH MARKING PEN.
The cards, Figures 3 and 4, were lettered with
a marking pen at a good rate of speed and will give
an idea of the style of work that all beginners may
do with a very little practice. This class of work
can be done very quickly when using this style of
alphabet. Always use black ink and white card-
board for small cards in this style of lettering.
HOW TO MAKE SHOW CARDS.
Try a
+s~
Chop Suey
while you ivaif.
FIGURE 4 MADE WITH MARKING PEN.
Quite prominent Soda Fountain cards may be
cut 3 x 14 inches (see Figs. 5, 6 and 7). A full
sheet of cardboard 22 x 28 inches will cut 14 cards
of this size. White cardboard with black lettering
and underlined with red ink will present a very neat
appearance.
HOW TO MAKE SHOW CARDS.
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HOW TO MAKE SHOW CARDS.
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HOW TO MAKE SHOW CARDS. 105
VERTICAL ALPHABET.
In the illustrations, Figures 9 and 10, the stu-
dent will notice the letters are vertical instead of
slanting style.
In practice study carefully the exercises given
in the first line of both illustrations and see that
you have the proper slant of pen from the base line.
The small arrows show the order in which each
stroke is made and combined for a finished letter.
This alphabet may be made very rapidly and
also have the appearance of being somewhat tasty
without extra effort, as the letters are formed by
natural and rapid strokes of the pen. The size of
the letters may be varied by making the letters tall
and slender or by making them low and extended.
Study and practice especially the form and make-up
of each letter, then you will be in a good position
to vary the proportion of lettering and wording on
either small or large cards and tickets.
The lower case letters given in Figure 10 will
be found interesting, as a few simple strokes make
up the full set.
106
HOW TO MAKE SHOW CARDS.
HOW TO MAKE SHOW CARDS. K'7
Useful
Articles
For
Household
Heeds.
FIGURE 11. MADE WITH MARKING PEN.
Spacing of the composition in general show
card work is very important, as the force of the
message of the card is largely due to its arrange-
ment. Try to bring out the headline or important
part of the card very strongly, and the balance in
neat and compact order.
108 HOW TO MAKE SHOW CARDS.
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HOW TO MAKE SHOW CARDS. 109
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FIGURE 15. MADE WITH MARKING PEN.
Study on the component parts of the letters
and the different strokes in relation to their make-
up will always lead to rapid advancement for the
energetic student.
110
HOW TO MAKE SHOW CARDS
U
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HOW TO MAKE SHOW CARDS'. HI
PLAIN PEN SHADING.
Pen Lettering with Marking Pens and shaded
to the left with a plain pen, as shown in the accom-
panying illustration, will enable any one to make an
endless variety of neat show cards. On white cards
make the letters in black and shade with light green
or red.
Lettering on colored cardboard should be in
black and shaded to the left with white ink. Use a
.marking pen for shading the letters with white ink.
For practice paper, use a good grade of Manila
wrapping paper, light in color and of smooth surface.
When cut into sheets 8 by 12 inches or 10 by 18
inches it will aid in securing the very best results
in practice work. Colored print paper in green,
blue, orange, will work splendidly and rest the eyes
in practicing, both in day and evening. Most any
color of paint may be used, but white paint is gen-
erally preferred in practice work on colored paper.
Most any job printing office can furnish this paper
at a small cost.
112
HOW TO MAKE SHOW CARDS.
-a
HOW TO MAKE SHOW CARDS IIS
INK HINTS.
Most all colors of ink for shading on white card-
board will produce a neat effect, as plain pens make
a flat tint stroke about half the depth of color of ink
used.
For the best results in practice, always see that
your ink is thick enough to throw a full and even
stroke without blurring, and you will save time and
do good work with ease. It's a common fault with
most beginners to use ink that is too thin, and in
many cases this is the point where most all students
fail for the want of a little careful study in keeping
lettering material in good working order.
In lettering show cards, aim to have the letters
prominent yet compact. More life in lettering and
general arrangement can be put in a card /x 11
inches than is generally put in a card 14 x 22 inches
by most card writers who do not give care to spac-
ing and arrangement.
114
HOW TO MAKE SHOW CARDS.
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HOW TO MAKE SHOW CARDS
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116 HOW TO MAKE SHOW CARDS.
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HOW TO MAKK SHOW CARDS. 117
AUTOMATIC
SHADING PEN LETTERING.
In Figure 22 we have a good, practical alphabet
for the Automatic Shading Pen. To combine the
shade or flat tint in this style of lettering, careful
study in the construction or make-up of each letter
is very important, as success in shading pen letter-
ing depends almost entirely upon a definite knowl-
edge of how and when each part of stroke of the
letter is made and connected.
Practice carefully on vertical strokes and always
try to keep your work compact — not too large in
beginning. Get a definite idea of the strokes of
the letters you intend to make before beginning.
Put the pen on the paper or cardboard before start-
ing the movement and stop the movement before
or as you raise the pen.
In beginning the first stroke of letter A (large
letters) draw the pen downward the length of the
letter (one inch), next add cross-bar just below the
center, then place pen at top or beginning of first
stroke and draw horizontal stroke about half length
of cross-bar and run
118
HOW TO MAKE SHOW CARDS.
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HOW TO MAKE SHOW CARDS.
119
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120
HOW TO MAKE SHOW CARDS.
HOW TO MAKE SHOW CARDS. 121
BRUSH LETTERING —
SINGLE STROKE BLOCK.
The letters of this alphabet are formed by
natural and free-hand strokes of the brush (see
Figs. 26 and 27). The size of the letters may be
varied by the use of large or small brushes. The
brush strokes and exercises showing the construc-
tion of the letters, as given in the first two lines of
the alphabet plates, will be good practice for all who
are interested in doing neat and effective show card
lettering. In single stroke lettering there are just
two movements of the brush to be used — from top
to bottom and from left to right. The small arrows
indicate the direction of each brush stroke in form-
ing each letter.
The small, short lower case letters should be
about two-thirds as tall as h, k and 1, which are the
same height as the capital letters. In lettering,
the brush should be held similar to the manner of
holding a lead pencil, except that the brush should
be held more upright. When lettering aim to have
your paint rather thick, but free flowing, so as to
cover well in each brush stroke without retouching.
122
HOW TO MAKE SHOW CARDS.
HOW TO MAKE SHOW CARDS.
123
124
HOW TO MAKE SHOW CARDS.
HOW TO MAKE SHOW CARDS.
125
126 HOW TO MAKE SHOW CARDS.
SHOW CARD ROMAN —
BRUSH STROKE.
For ease in producing practical brush stroke
lettering of a Roman style, one should have a good
knowledge of general form and make-up of the dif-
ferent letters. This style of lettering can be made
quite rapidly by free-hand brush strokes, as indi-
cated in the first two lines of alphabet plate. Use
a No. 9 Red Sable show card brush and make the
capital letters about one inch high. When the
brush is held in proper position and used with a free
flowing show card paint (rather thick) all curve and
straight line strokes can be easily made true and
uniform with one sweep.
When making capital letters one inch high, the
short lower case letters, such as a, c, o, s, n, etc.,
should be 5-8 of an inch high. The $ and cent
characters should be small, about half the size of
figures.
HOW TO MAKE SHOW CARDS.
127
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128 HOW TO MAKE SHOW CARDS.
HOW TO MAKE SHOW CARDS.
129
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HOW TO MAKE SHOW CARDS.
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KNOWLEDGE f Mil THAT PAYS
If you are looking for an opportunity for mak-
ing money, or if you are not satisfied with your
present position, or your past earnings, you will find
an up-to-date course of instruction by mail in Show
Card Lettering and Designing the best investment
you ever made.
We have separate courses of Show Card letter-
ing instruction for Home Study in
Marking Pen Lettering,
Shading Pen Lettering,
Soennecken Pen Lettering,
Up-to-date Brush Lettering.
Finished card-sign lay-outs and practice copies
are furnished for student's practice outside of the
lessons and alphabets. Student's work on each
lesson corrected and returned postpaid during the
course.
Every Student a Success.
Catalog of lettering supplies and full informa-
tion in regard to price for instruction courses mailed
free to all interested. Address,
W. A. THOMPSON,
16-18 East Huron St., Pontiac, Mich.
SPECIAL
Practical show card brush stroke alphabets in
full working size at only 25 cents per set, — capital
and small letters.
The following Alphabet Charts in different
styles of lettering have been arranged for the best
results in favor of the student. The movement or
direction of the brush strokes in forming each letter
is clearly shown by small arrows in the exercises,
and also in the finished letters of each alphabet
together with figures for price tickets.
These charts are just the thing for those who
have not the time to devote to a course of instruc-
tion in show card brush lettering.
Note the different styles as follows. Order by
number.
.................. 2 alphabet charts, Nos. 21-22, 25c. postpaid
Roman ..................... 2 alphabet charts, Nos. 23-24, 25c. postpaid
Italic Roman .............. 2 alphabet charts, Nos. 25-26, 25c. postpaid
Single Stroke Block ..... 2 alphabet charts, Nos. 27-28, 25c. postpaid
Brush Text ................ 2 alphabet charts, Nos. 29-30, 25c. postpaid
Block" ....................... 2 alphabet charts, Nos. 31-32, 25c. postpaid
Semi-Script ................ 2 alphabet charts, Nos 33-34, 25c. postpaid
Thick and Thin .......... 2 alphabet charts, Nos. 35-36, 25c postpaid
Script ...................... 2 alphabet charts, Nos. 37-38, 25c. postpaid
Old English ............... 2 alphabet charts, Nos 39-40, 25c. postpaid
The full set of alphabets — 20 alphabet charts
- at $2.50, postpaid, is the biggest offer of merit
that has ever been made to those interested in learn-
ing practical show card brush lettering suitable for
all purposes. All orders promptly filled.
Remit by draft, registered letter, post office or
express money order. Address
W. A. THOMPSON,
16 East Huron St., Dept S., Pontiac, Mich.
THE SPATULA SIGN-MAKING OUTFIT
The outfit contains everything that is essetial for the
making of all kinds of card signs for use on the counter, in
the window, etc. It has not heretofore been possible to
buy an outfit of this kind. Every article is of the best
manufactured and is warranted. The outfit consists of the
following articles, which may be purchased separately if
desired, at the prices quoted.
1 N0.3SHADING PEN $035
1 No. SMAEKING PLN 35
2 Doz. ROUND WRITING PENS (various
sizes 35
1 INK RESERVOIR 05
1 NHREE POINTED PEN (No. 400) 10
*1 BOOK OF INSTRUCTIONS 25
4 FITCH AND SABLE BRUSHES 40
1 BOTTLE SPECIAL BLACK INK "Letterine" .25
1 BOTTLE SPECIAL RED INK "Letterine" .25
1 BOTTLE SPECIAL BLUE INK 25
1 BOTTLE GOLD SIZING 25
1 PACKAGE GOLD BRONZE 10
1 SAMPLE SIGN 10
6 Doz. PREPARED BRISTOL BOARD (i.e.
faintly ruled. If sent separately, postage
20 cents extra) .75
$3.80
Entire Outfit, EXPRESS PREPAID,
*A complete treatise on sign work. Tells about colors
and Ornamental work, Bronzes, Flourishes. How to paint
signs on windows, to letter glass and mirrors. How to
make off -hand signs with a brush. How to draw borders
and circles. How to mix colors, etc., etc.
Entire outfit express prepaid to any part | *lw
of Great Britain, including her colonies, for * «-»»•
SPATULA PUBLISHING CO., Boston, Mass.
3.00
THE SPATULA JUNIOR SIGN OUTFIT
In this outfit are the most necessary tools for
making handsome and attractive show cards for
store windows, show cases and counters. In it
are the following :
One MarKing Pen No. 3.
Tnree Good Brushes.
One Shading Pen No. 3.
One dozen SoennecKer's
Round Writing pens eleven
different sizes.
The entire outfit is packed in a neat slide box
and is sent by mail postpaid to any address i
the world for $*&$ (Foreign "5/6")
SPATULA PUBLISHING Co.,
Boston, Mass.
1OOO =
WAYS AND SCHEMES
_ TO
ATTRACT
TRADE
GatHer?d from Actual
Experiences of Suc-
cessful Merchants.
THERE has never before been published anywhere
in the world a book like this. It gives without any
superfluous verbiage descriptions of over 1000 ideas
and schemes that have been tried by successful retail
merchants to bring people to their stores and to sell
goods. If you try a new scheme every day, there will be
in the book enough separate suggestions to last you nearly
three years without repeating a single one. The book is
the result of slow and careful observation by trained
writers extending over a period of more than five years.
It is handsomely illustrated with half-tone and line
engravings, among which are full page beauty pictures
from original photographs of many of the handsomest
women in the world. In one of the chapters are a large
number of simple illustrated puzzles or brain teasers.
In the collection are probably dozens of schemes and
ideas which have turned losing businesses into profitable
ones. They have been worth dollars to others and they
are worth money to you.
/.-rf-fl
ITS PRICE, ONLY $h00> POSTPAID.
Send in your order to-day,
using: the coupon on page 6.
(i)
SPATULA PUBLISHING CO., Boston, Mass.
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